Shloka 64
Adhyaya 82 — The Rise of Mahishasura and the Manifestation of the Goddess from the Gods’ Tejas
ननृतुश्चापरे तत्र युद्धे तूर्यलयाश्रिताः ।
कबन्धाश्छिन्नखिरसः खड्ग-शक्त्यृष्टिपाणयः ॥
nanṛtuś cāpare tatra yuddhe tūryalayāśritāḥ | kabandhāś chinnakhirasāḥ khaḍga-śakty-ṛṣṭipāṇayaḥ ||
அங்கே அந்தப் போரில் சிலர் இசைக்கருவிகளின் தாளத்தோடு நடனமாடினர்; தலை வெட்டப்பட்ட கபந்தங்கள் தங்கள் கைகளில் வாள், சூலம், தோமரம் ஆகியவற்றை ஏந்தினர்।
{ "primaryRasa": "adbhuta", "secondaryRasa": "raudra", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
The grotesque ‘dance’ of headless fighters shows the absurdity of violence driven by blind impulse; it is a warning about momentum of vice continuing even when reason is gone.
Ākhyāna within the Devī narrative cycle; it functions as dramatic amplification of Devī’s supremacy rather than as cosmological history.
Dancing to rhythm amid battle suggests prāṇic automatism—energies moving to ‘laya’ without consciousness; liberation requires restoring the ‘head’ (buddhi) under Śakti’s governance.